The Blog of Van Van Gorderhttp://blog.drawingontrope.com
Drawing and WritingWed, 21 Jan 2015 06:22:12 +0000en-UShourly1http://wordpress.org/?v=4.1.1Linkshttp://blog.drawingontrope.com/?p=19515
http://blog.drawingontrope.com/?p=19515#commentsWed, 21 Jan 2015 06:12:34 +0000http://blog.drawingontrope.com/?p=19515This link is to 2 articles currently published as of this month at the Drawing Research Network : 1- Jaguar Mask and 2- Nine Notes On Drawing

This compositional labyrinth places the viewer in the PDF scale in a state of generative immersion with an interactive element and this in turn reflects on the tenets of rhetoric as object : ethos, pathos and dialectic of which dialectic as an object reflects on discourse as its subject , and likewise context and expression as issues of identity being and usage.

The labyrinth of the cyber space has track and trace to the original paper scroll or torus which emblematic there in its configuration as a bullnose form to for example the papal bull or later bulletin carry the linguistic density of trope to its resonance and facultative testing of configuration and representation. This chain of signifiers is noted in our pre-hension of the labyrinth ie that of Jason, and the familiar Minotaur in this miniature or Rococo mode as it were, and the architectural center of the scroll is rhymed in the labyrinth, as that which as Lacan notes is the emptiness around which all architecture builds. The title Nimbatsu Nimbus is a kind of nonsense which does not break down into the exampled parsing style of the Torus as it becomes el Toro: Minotaur , but it is interesting how different cultures relate sound: Nimbatsu is the Japanese mantra for the Pureland Amithaba cult (Guanyin” Bodhisahtva of mercy in Chinese ) while the Nimbus is our familiar and nimble word for halo which as words and image play with a generative sense of openness.

per the Pre Socratic Anaxamander:”up along Just as the first mark contains the morphology of all that then develops as was the Chinese painters belief I tend to believe the first recorded words of Western philosophy contain the potential of a considerable chain of signifiers . Such as these are morphic to metamorphosis and a developing content which has a topology distributed over both the differences of form evolving from binary to polyphonic combinations . likewise consider transparency( subject to object oscillation) and opacity ( manifold of embedded experiential horizons) of perception at the nexus of phenomenological and semiotic simulcrae . These architectures of knowledge gathered upon, represented and build upon the senses as a configuration now a topology of the temporality of realizing new potential.

Anaxamander’ Up along g the lines of usage they pay penalty to one another for their transgressions.”

Psychology, as a representative rhetoric carries many contemporary realizations into this phrase, the concepts of “slippage” and of” transference” for example refer to the irruptions of the subconscious in the first instance, and the blocking of it in the second. The Anaxamander phrase posits usage, or the metamorphic contents in which meta levels are precisely, transgression. The rhetorical term “contingency” meaning unresolvable state or better… suggests potential is a turn of phrase that means time that experienced as distance (within transformations) is different than time that is stated between points, that is, motion in mind and world, which drawing so well represents is not an index of a continuum of imagined points and by extension linked “ points” of view that become planes of consciousness, but rather in their motion are always in extension, just as the subconscious is always in flux.

“Penalty to one another “ pairs transparency as in the Kant formulation” the conditions of experience are simultaneously the conditions of the objects of perception” In contrast and within the opaque topologies Smithson intuits: “All language is a collection of sites”. The “collective”, – that which is already in motion is falsely interrupted by analysis if analysis insists the scisions it represents are the mood, for they are only mode. A plane of consciousness is not there for a bounded moment but rather also in motion, and rather than an allegory of numbers belongs to qualitative parameter. For that matter, number also , arguably also really in motion… as in the measure of space per atomic densities as probabilities of untrackable motions.

The track and trace of subject to object in the case of psychology (ie Lacan) uses the subscripts and superscripts of formal logic to compare a statement or state with the usage of consideration that belongs to its now temporality… the relation of sign to signifier that Sausseur stated as signified of the subconscious was inverted by Lacan as Subconscious instead the generative state, a kind of verbal cross multiplying or per rhetoric”chiasme”- crossindexing . ( As an ABBA motion for example in Heraclitus: uncomprehending they hear like the deaf, the word is their witness, absent while present).

In the drawng below I have borrowed instead, the topology of the Iching to indicate motion through mind and matter via the morphologies of metamorphosis as topologies of creative temporality and the distances created within which arrive to another kind of time which is that of the object generated realization of a new potential which returns intuition.

Psychology is a representative rhetoric meaning looking into the human content of the way form follows function through many layers of function language exemplifies , as Smithson says” a collection of sites” relates situation to consciousness.

The philosophic content that exists to language itself at an extension of poetry to poetics, configuration and representation of content, via the oscilation of subject to object and the passage from binary relations to manifold, flux, conflux, thus embody and embed modes and moods of opacity and transparency of expression.

Visualization as means of content exists within the phenomenological as the world represented to senses, and configured to their collective review, of which vision serves in particular to form the concept of these things space. Art therefore is the nexus of form following function at the psychological level of extended sense of what function is as indicated from the aptitude of language to search and find by creating its poetics.

The text here is a parallel to notes on a folded piece of paper which points to that altered temporality which is like different pieces of paper which when scrolled then shuffle, like wise a palimpsest, a tableau, a labyrinth or otherwise within the rhetorics of embodied form the embeddings from experience into experience of a chain of signifiers positioned between metaphor and metonym to make of the movement of mind and material the conditions of experience that may be transparent or opaque and which in such a given manifold are opaque. /:Transparency<> reflexive at the notion per” Kant that the conditions of experience are simultaneously those of the objects of experience”( Heidegger: Parmenides is secondary source ) correspondingly> dimensions are returned to intuition in the passage of temporary concept (“thing” ) to object (point of view) and subject (developed point of view)/ Anaxamander: “along the lines of usage they pay penalty to one another for their transgressions”/transgresion-contingency-bracketings-embeddings sequence as time displaced to experience and psychologised to narrative levels of circuitous reflexivity and topographically altered temporality…

Reflexive self referential/contemporary terms or neurological model of semiotics: Ot and Pt the former has to do with cortical integration and latter with weight bearing strategy: teche and techne…/steps: motion in mind and matter>Aristotle (ethos, pathos, dialectic) -> a mapping in its way of the variability of recourse within Haraclitus’s flux now “kinds”. Motion: lexical indexing pertains to stations, moments, stages and states interrupted to view whereas the phenomenology beyond such ontology pertains neither to oscillation ( figure ground of subject to object transposal) nor flux in an indeterminate grounding but rather dimension building upon dimension and correspondingly concealing that it excavates as it quarries./ Dimensions indicate parallels (rhetorical manifold) pointing to experience (ontology) folds of a map are parallels…/phenomenology>oblique planes of circumstance/terratological: that means “marvel”, construct, Bernini “mirabula” (wonder), the manifold, of embodied form and embedded point view within gradients of experience from circumstance to the circumstantial(ethos)/ experience then is not given (transparent) but constructed (opaque)/ folded map Is a rococo model of the Baroque knot./visual rhetoric= parallels & art ontology = pointing> philosophic sense of morphological arrows….bracketings… The Kantian model of experience as transparent and reflexive via recovering intuition is a version of “essence”: depending on a sense of origin which founded on abandoning antinomies intuits revising metaphysics to an experiential mood in order to place its narrative modality./But stating a site is questionable, a self source as such, there is more likely a conflux that exists to perception such that perception as its own model of nature is informed by such flux./Thus therebeing is the mirror of “throwness/imperfect mirror of representation (art ontology) and configuration (visual rhetoric/language:visual verbal space)/-> point of view , plane of consciousness. Point of view embedded in plane of consciousness, collective mass, projection….marks and remarks…./Poiesis: set of conditions attributed to art; poetics: visual rhetoric- that from which the art is about as building dimension….visual vectoring, breaking of gaze as concept formation per Lacan, the hidden dimesnions of experience, experience hidden in time, the concept becomes the perception of what is but what is also absent to be formative to the perception which is the model of nature. Information architecture is the empty center belonging to intuition in its pre-conceptual state : a thing is and of itself a sheltering/figure of speech at dimension of experiential model/ consider concept altered temporality/ art ontology: not to over identify either to oscillation ( transpose of subject and object) not to ungrounded flux: seeks grounded flux./figure of speech, embodied form:torus-self mapping, discursive between transparent (ontologically stated) or opaque : herme and hermeneutics at nominalist critique./double hermeneutic = manifold- nachtrglechtkeit or time mediated perception. / counter or tonic: perception creates time…time is created by events, events are psychological to human perception…/ trope: program and variation-expect the unexpected./entropy: opaque version.